Almost two weeks ago Sohrab went to DC performing at The October Revolution in Jazzevent at Union Arts curated by Luke Stewart and attending the two days 14th Future of Music Policy Summit at Georgetown University. Future of Music Coalition (FMC) is a U.S. 501(c)(3) national non-profit organization specializing in education, research and advocacy for musicians with a focus on issues at the intersection of music technology, policy and law.

Last month of October marked the 50th anniversary of the October Revolution in Jazz, organized by trumpeter Bill Dixon in New York City. The goal was to provide a platform for musicians dedicated performing original and improvised music, but were not able to find steady work in this approach. It ultimately lead to the creation of the Jazz Composer’s Guild and was another important statement in organizing musicians and artists in practicing self-determination in their artistic careers and in the community.

For this performance, musicians from DC, with Sohrab as a special guest from New York City collaborated in a series of duo performances. This is in recognition of a historical event, showcasing a community of musicians who have been influenced by the October Revolution.

” (Cyburn) said there are three broad policy goals that will have far-reaching implications for the music business: retaining a free and open Internet, expanding broadband networks’ reach and speed, and promoting competition. She said as the FCC moves forward on open Internet, her focus will be primarily on the impact to consumers, and the critical objective is first determining the right policy and then the appropriate legal framework.” (Benton Foundation)

At last year’s Summit, Jazz Forward Coalition (JFC) and FMC brought together an outstanding group of thought leaders and stakeholders to re-examine jazz’s unique and essential role in the socio-economic cultural arenas. It was an animated, sometimes heated, but ultimately productive discussion, which began to suggest a roadmap to address jazz’s needs for sustained growth. Since that time, JFC has embarked on a year long study, supported by a planning grant from DDCF, to take a snapshot of jazz in order to delineate, define and suggest programmable initiatives for community based activations. Please join us as we examine the interlocking needs of the jazz ecosystem, discuss fresh ideas that bring more jazz to more people and strategize how to mobilize and execute on the local and national levels. This session will present our ‘Road Plan for Jazz’ through the intertwined lenses of professional development, advocacy and demand building.

4. Time: 3:35pm – 4pmHall: Lohrfink Auditorium

Theme: On Atomic Living: Kiran Gandhi & Michelle Davis

Michelle Davis: Senior Articles Editor, Journal of Intellectual Property, University of Georgia School of Law
Kiran Gandhi: Drummer/Percussionist; MBA Candidate, Harvard Business School; Georgetown University Class of 2011

Kiran Gandhi is a force of nature. She plays drums and tours internationally with M.I.A., has done a stint at Interscope Records as the company’s first digital analyst, is a Harvard MBA candidate and a committed activist. Most exciting is her commitment to a more diverse and inclusive music industry built on an ethos of collaboration and engagement. Kiran’s talks on “atomic living” embody her willingness to experience life and the pursuit of knowledge wherever opportunities arise. She’ll be joined in conversation with one of our favorite rising legal stars, Michelle Davis, a former Flagpole music editor and FMC intern who in her “spare time” works to expand the knowledge base of musicians in her hometown of Athens, Georgia. These two young leaders possess intellectual curiosity and a desire to affect positive change through music. That’s our kind of future.

Sohrab attended on Tuesday, October 26, 2014 following panel discussions:

Pundits and prognosticators often surmise that today’s musicians and composers are living in an era of unparalleled opportunity. While it’s safe to say that musicians’ access to the marketplace has greatly improved, thanks to digital sales, social media, YouTube and the like, how have these changes impacted musicians’ ability to generate revenue based on their creative work? Almost all analyses of the effects of these changes rest purely on assumptions that they have improved musicians’ bottom lines. We hear often from record labels, music services, publishers, and entrepreneurs about the state of the music industry. Now it’s time to hear how musicians and composers themselves are navigating these enormous changes. In this conversation we will look at how revenue streams for an acclaimed soul singer who has worked in the industry for 50 years have and have not changed since the 60s, and the importance of transparency and reliable accounting for artists.

A session on organizing your music community to find its power, create change and succeed. How can we as musicians develop power in today’s industry and protect our work and our careers? Join the American Federation of Musicians as we share the experiences of the Content Creators Coalition (C3) and demonstrate the varied approaches the AFM takes to help us to turn our own music communities into a force for change. Our future depends on it!

Sohrab’s impression of the two days summit

The Future of Music Policy Summit was two jam-packed days of speeches, panel discussions and interviews. The summit was a place where all perspectives of music business and musicians’ issues could be heard. The dialogues were very constructive (sometimes too much), focusing on the real challenges and opportunities in today’s music world.

He enjoyed mostly the Do It Together! panel discussion with music activist and guitarist Marc Ribot who “urgently and passionately emphasized how important it is for musicians to organize as workers together at all levels, to not be afraid to protest, to go on strike, to be unafraid to fight and push aggressively for legislation to be passed to protect musicians.” He was the only music activist during the two days who was most specific on how musicians – as a lobbying force – can achieve their goal of fair pay in the digital world.

The opening band was I m U r with Rob Coltun on guitar, Kamyar Arsani on daf, kuzeh, percussions & vocals, Abhik Saha on percussion & vocals; and Joey Jenkins on bass. They played some Sufi songs and improvised music with poetry.

Note: the two videos of “A Beginning Is An Ending” prove that SoSaLa is a band which doesn’t want to repeat itself. The core of the song is the same, but the execution is totally different. The sound of the song changes in accordance to the venue’s ambiance, how the audience respond to the music, how each member interprets and executes the information from each song’s lead sheet, Sohrab’s mood and for many other reasons.

An Die Musik Videos

Bossa Club Videos

This email ends this report perfectly. It says what SoSaLa is about.. stands for…speaks out…fights for. All SoSaLa members joined this collective, because they believe that the time has come to make some important changes in their lives.

A Fan Email

“Salam my dear Sohrab,

I so enjoyed your performance and our nice chat afterwards. You have indeed been blessed with the gift to create meaningful music that engulfs the soul.

Thank you for all that you are doing to help musical artist who are being treated unfairly. Enough is Enough is a great movement, and I have been enlightened. I have subscribed to DooBeeDooBeeDoo NY and will share it with others. I truly believe that social awareness can be fostered through music. Music triggers interest. We must all open our hearts and make a difference.

My work involves working with our poorest brothers and sisters in the world. I am blessed every day. I exhibit/travel for our organization in the U.S. explaining why we must live our life in solidarity with our brothers and sisters around the world. We are one family but many do not understand; however, I just keep pushing forward.

I purchased your CD and a t-shirt which I have worn on several occasions. I like the design. I was listening to your CD a few days ago for the third or fourth time and I could visualize you holding the stool above your head crying out. It was a powerful statement. I love the true form of jazz, which should be expressive with different movements, surprising me at each turn without structure, free flowing.

If I am not traveling the next time you are in Baltimore I will attend your performance. Continue to inspire, advocate, produce music and stand up against social injustices. It is our call.” ( – Jacklyn Ireland from Baltimore)

This time SoSala consisted of three DC musicians: Rob Coltun on electric guitar, Luke Stewart on electric bass guitar and Warren G. Crudup III on drums and Sohrab Saadat Ladjevardi on sax and vocals. Warren played for the first time.

1. Fifth Dimension, Baltimore, May 15: SoSaLa shared the stage with 2 local bands: Twisted Circles and A Worthless Homestead. Jamal Moore on alto sax guested in a couple of songs.

3. The Goethe-InstitutWashington DC, May 17: Sohrab was invited by MOM2 – a Washington DC electronica duo wth Thomas Stanley on synths, effects, mbira-tron; and Luke Stewart on synths, effects – to play on the last song of their set.

Photo by Maria Teresa Henderson

3. Bossa Bistro + Lounge, Washington DC, May 18: SoSaLa played a long set with guest: Kamyar Arsani on daf (Persian frame drum)